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Lot Essay
"To most people who look at a mobile, it’s not more than a series of flat object that move. To a few, though, it may be poetry. I feel there’s a greater scope for the imagination to work that can’t be pinpointed by any specific emotion. That is the limitation of representational sculpture. You’re often enclosed, stopped." (Alexander Calder, quoted in Marla Prather, Alexander Calder: 1898-1976, exh. cat., National Gallery of Art, Washington, D.C., 1998, pp. 282-283).
In the 1920s, Alexander Calder began experimenting with wire sculptures, creating a sense of delicacy in these figures that could be manipulated and moved by hand. The intricacy of these sculptures allowed for movement in response to the outside environment. After a visit to Piet Mondrian’s Studio in the 1930s, Calder became captivated by the potential of three-dimensional movement: kinetic movement within static material. Calder was intrigued by Mondrian’s use of color and form; his abstract compositions that consisted of bold, flat colors and straight lines. Calder quickly began to incorporate Mondrian’s principles of abstraction into his own work, ready to push the boundaries of what a simple sculpture could become, explaining “You look at abstraction, sculptured or painted, an entirely exciting arrangement of planes, nuclei, entirely without meaning. It would be perfect but it is always still. The next step is sculpture in motion” (Alexander Calder, quoted in Marla Prather, Alexander Calder 1898-1976, Washington, D.C. 1998, p. 57). This fascination became the driving force behind his sculptures, ultimately inspiring him to create his first mobile, which made him an innovator in the world of sculpture.
Calder’s standing mobile “Untitled” was created circa 1965, in the last decade of his life. This work truly captured the refined technique that he developed over time, showcasing his distinctive style and mastery of form, balance, and movement. Calder’s standing mobiles, such as the present work, are unique in that they are designed to stand on their own, rather than be suspended from a ceiling or wall. This combination of sculptural forms gave himself more freedom and creative options than he would have had if he created just stabiles, a term coined by Jean Arp as to signify Calder’s stabile sculptures, or his more widely known mobiles as separate art works. This approach allows the viewer to interact with the sculpture in a more intimate way, walking around it and observing it from different angles. While at first glance the mobile appears stagnant and even two-dimensional, it quickly reveals its dynamism to the viewer, blurring the line between what constitutes as inanimate.
The three-legged red base of the present work, although steady and grounding, provides a sense of movement similar to that of Alberto Giacometti’s “Walking Man”. Both convey a sense of balance and harmony, with the “Walking Man” standing tall despite the forces that seem to be pushing against him, and Calder’s standing mobile maintaining a delicate equilibrium despite its’ complex structure. Although each represent different approaches to sculpture, these works share a playful movement and whimsical nature. As this base seems to be stepping forward, the weight it is carrying affords a feeling of tension. The asymmetricity of the branches of the mobile creates the illusion that the work should fall over. However, as evidence to Calder’s genius and expertise in engineering and ability to create stability in a world of movement, they remain level and balanced.
A testament to Calder's mastery of form, balance, and movement, the present work that captures the eye and the imagination, invites the viewer to interact with it in a playful, engaging way. Nearly six decades after its creation, it remains a beloved work of art and a shining example of Calder's enduring influence on the world of sculpture.
In the 1920s, Alexander Calder began experimenting with wire sculptures, creating a sense of delicacy in these figures that could be manipulated and moved by hand. The intricacy of these sculptures allowed for movement in response to the outside environment. After a visit to Piet Mondrian’s Studio in the 1930s, Calder became captivated by the potential of three-dimensional movement: kinetic movement within static material. Calder was intrigued by Mondrian’s use of color and form; his abstract compositions that consisted of bold, flat colors and straight lines. Calder quickly began to incorporate Mondrian’s principles of abstraction into his own work, ready to push the boundaries of what a simple sculpture could become, explaining “You look at abstraction, sculptured or painted, an entirely exciting arrangement of planes, nuclei, entirely without meaning. It would be perfect but it is always still. The next step is sculpture in motion” (Alexander Calder, quoted in Marla Prather, Alexander Calder 1898-1976, Washington, D.C. 1998, p. 57). This fascination became the driving force behind his sculptures, ultimately inspiring him to create his first mobile, which made him an innovator in the world of sculpture.
Calder’s standing mobile “Untitled” was created circa 1965, in the last decade of his life. This work truly captured the refined technique that he developed over time, showcasing his distinctive style and mastery of form, balance, and movement. Calder’s standing mobiles, such as the present work, are unique in that they are designed to stand on their own, rather than be suspended from a ceiling or wall. This combination of sculptural forms gave himself more freedom and creative options than he would have had if he created just stabiles, a term coined by Jean Arp as to signify Calder’s stabile sculptures, or his more widely known mobiles as separate art works. This approach allows the viewer to interact with the sculpture in a more intimate way, walking around it and observing it from different angles. While at first glance the mobile appears stagnant and even two-dimensional, it quickly reveals its dynamism to the viewer, blurring the line between what constitutes as inanimate.
The three-legged red base of the present work, although steady and grounding, provides a sense of movement similar to that of Alberto Giacometti’s “Walking Man”. Both convey a sense of balance and harmony, with the “Walking Man” standing tall despite the forces that seem to be pushing against him, and Calder’s standing mobile maintaining a delicate equilibrium despite its’ complex structure. Although each represent different approaches to sculpture, these works share a playful movement and whimsical nature. As this base seems to be stepping forward, the weight it is carrying affords a feeling of tension. The asymmetricity of the branches of the mobile creates the illusion that the work should fall over. However, as evidence to Calder’s genius and expertise in engineering and ability to create stability in a world of movement, they remain level and balanced.
A testament to Calder's mastery of form, balance, and movement, the present work that captures the eye and the imagination, invites the viewer to interact with it in a playful, engaging way. Nearly six decades after its creation, it remains a beloved work of art and a shining example of Calder's enduring influence on the world of sculpture.